Analysis of Jami's Attention to the First Sonnet of Hafez Divan

Subject Areas : Comparative (with literary and artistic features)

Rogaiieh Abdolali Zadeh ¹ , Hamid Reza Farzi ² , Mahin Masarrat ³

1 - PhD Student in Persian Language and Literature, Tabriz Branch, Islamic Azad University, Tabriz, Iran.
2 - Associate Professor, Department of Persian Language and Literature, Tabriz Branch, Islamic Azad University, Tabriz, Iran.
3 - Assistant Professor, Department of Persian Language and Literature, Tabriz Branch, Islamic Azad University, Tabriz, Iran.

Received: 2023-04-17 Accepted : 2023-08-10 Published : 2025-03-21

Keywords: Jami, Hafez, attention, conflict, intertextuality,

Abstract :

Attention to the poems of other poets and replying to them is one of the poets' strategies in writing a poetry. Hafez is one of the poets whose poems have been welcomed by many poets, especially in the 9th century. Jami, as one of the mentioned poets, is unique and distinguished among the followers of Hafez, in such a way that some researchers called his sonnet style the same as "Hafez style ". Among Hafez sonnets, the first sonnet of his Divan has been mainly noticed by Jami so that he referred to this sonnet seven times and answered it. This issue is studied in this article. The research method is a descriptive-analytical method and it is based on library references. The aim of conducting this research is to investigate Jami's attention to the first sonnet of Hafez Divan and to analyze how and why Jami paid attention to this sonnet. The authors assumed that Jami paid special attention to the first sonnet of Hafez. Based on this idea and according to the definition of the concept "Attention" in rhetorical books and borrowing it from the theory of intertextuality, the reason of Jami's attention to the first sonnet of Hafez was investigated. It was concluded that, despite the formal imitation of Hafez and praise of his poetry, Jami had a feeling of competition and conflict with Hafez in such a way that he has dealt with some meanings and subjects of Hafez with a kind of semantic defamiliarization.

References:

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